Asian Porcelain - Highlights
An archived selection from our past highlights of Kakiemon, ko-Kutani, Arita models, ko-Sometsuke & Early Enamelled wares.
Kakiemon moulded Nigoshide dish, Arita circa 1670
A highly important and exceptionally fine Kakiemon Maru-ni-mitsu-ichō moulded (Three Ginko Leaves Encircled) nigoshide porcelain dish, exquisitely enamelled with a serene view of Matsushima Bay showcasing two delicate pine and maple groves to the foreground and three sailing ships on the distant horizon returning to the shore
Kakiemon kiln, Hizen Province, Japan
Edo period (17th century), Enpō era
circa 1670
Measurements
17.7 cm diameter; 2.7 cm high
Condition
In flawless original condition with no damage to the nigoshi-de porcelain body and absolutely no fading, damages or losses to the enamels or iron-oxide glazed rim. A museum-quality example of sublime beauty.
Provenance
This dish sold at Christie's (London) 14 June 1989, Important Japanese Works of Art, lot 31. (original catalogue included with sale)
This masterfully moulded and lobed circular dish was produced using the finest nigoshi-de milky-white porcelain with a pearly luminescent glaze, superbly press-moulded with three large overlapping ginkgo leaves forming a traditional Japanese motif and family crest known as Maru-ni-mitsu-ichō (丸に三つ銀杏) which translates to 'Encircled Three Ginkos'. During the 17th century, the Maru-ni-mitsu-ichō crest was primarily used by retainers of the Tokugawa Shogunate and various families tracing their roots to the Fujiwara and Minamoto clans.
The velvety surface enamelled with a sublime view from Matsushima Bay (one of Japan's three celebrated locations of natural beauty), featuring a lookout vantage point with groves of maples and pines in the foreground and three traditional Japanese bezaisen sailing ships on the horizon, returning to the shore.
Early Enamelled Figures, Kakiemon, Arita, circa 1665
A very early and rare pair of 17th century Kakiemon figures of bijin (Japanese courtesans) wearing uchikake (outer garment) enamelled in the Kakiemon style with kichō panels (Curtains of State) and sylized falling leaves
Kakiemon type, Hizen province, Japan
Early Edo period, Kanbun Era (1661-1673)
c1660-70
14.5 cm high x 6 cm wide across the base
Provenance:
Christie’s (London) ‘Japanese Works of Art’, 6 & 7 March 1989, lot 321 "A pair of Kakiemon models of bijin" (see final two images for Christie's auction catalogue and lot 321 coloured illustration of the present pair of Kakiemon bijin figures).
Possibly two of the “310 small statuettes” shipped to Holland in 1665 aboard the Nieuwenhoven out of the cargo of the Amerongen from Japan to Batavia.
For an almost identical pair, see Oliver Impey & Christian Jorg "Dragons, Tigers and Bamboo" (The Gardiner Museum of Ceramic Art, 2009), for an almost identical pair of bijin, museum number G05.12.25.1 and G05.12.25.2.
The courtesans are modelled wearing the uchikake robe (formal outer garment with no sash) over several luxuriant layers of najajuban (underkimonos) decorated in the very early Kakiemon palette of iron-red, green, blue and black enamels. The large and flowing uchikake robe with draped sleeves is sparingly decorated with stylized maple leaves and rectangular panels known as kichō panels (Curtains of State), which depict room dividers that were used to shield court ladies from the eyes of men. In notable contrast to these privacy panels depicted on the back of their robes, the bijin are modelled coquettishly lifting the front of their outer garments to reveal the kosode (inner kimono) underneath, and to give the viewer a tantalizing glimpse of their delicate feet.
Large Kakiemon lobed dish, Arita circa 1670-90
A large, impressive and dynamically executed lobed Kakiemon dish strikingly enamelled with three Japanese tiger prawn (kuruma-ebi) and trailing seaweeds
Arita kiln, Kakiemon workshop, Hizen province, Japan
Edo period, Enpo era (1673-1681) - Genroku era (1688-1703)
circa 1670-1690
Measurements
23.5 cm diameter; 4.0 cm high
Condition
In excellent original condition.
The asymmetrical placement of boldly rendered Japanese tiger prawns is grounded by the delicate brilliant-green enamelled trailing seaweeds that wrap around the outer edge of the dish to the reverse. The elegantly lobed form is edged with a classic iron-oxide fuchi-beni rim, and the footrim encircled with red concentric rings. A very rare, striking and very impressive dish with a bold presence.
During the Edo period, the Japanese tiger prawn (kuruma-ebi) played an integral role in shaping traditional Japanese food culture. The large tiger prawns were caught in the warm waters of Tokyo Bay (then called the Edo Sea) and became the defining symbol of luxury for the booming city of Edo (modern-day Tokyo) as a key element in the establishment of the Edomae (Edo-style) sushi experience. Early sushi masters discovered that boiling the tiger prawn brought out a bright, beautiful red colour which quickly became one of the most prestigious, essential toppings for authentic Edomae sushi. The large prawns were a highly prized delicacy and a symbol of high-class dining.
Ko-Kutani Ninsei type Tokkuri (Sake Bottle), Arita kiln, circa 1655
An exceptionally rare and important early Ninsei type Ko-Kutani
double-gourd tokkuri (sake bottle), gracefully decorated with The Flowers of Autumn, kiku (chrysanthemum), fujibakawa (mistflower), kikyo (balloon flower), nadeshiko (dianthus pinks), and susuki (grasses)
Early overglaze enamelled ware with gilding, Ko-Kutani Nonomura Ninsei type 古九谷仁清手, Arita or Kaga kiln, Japan
Edo period (mid 17th century)
circa 1655
Measurements
21.5 cm high
Notably, the enamels and decoration lack the typical black outlining seen in the early Arita Kakiemon wares and adopted from the Chinese style of black outlining with coloured enamels. This manner of polychrome enamel decoration without black outlining is known as Ninsei-style and credited to Nonomura Ninsei, who is said to be the founder of Kyoto enamelled ware.
Though documentation from this early period is scarce, scholars note the close connection between the two forefathers of Japanese overglaze enamelling which rapidly developed in the 1640s, namely Sakaida Kakiemon I and Nonomura Ninsei. Kakiemon established his workshops in the village of Arita, while Ninsei opened Omuro kiln at the gates of Ninna-ji Temple in Kyoto by 1647. Ninsei is the most historically documented Japanese potter of the Edo period, and was recognized as a Master Potter by the mid 17th century.
In the mid-1650s, Ninsei's elegant enamelling style - which was highly regarded and sought after by Japanese nobles - experienced a very brief period of production on the white porcelain clay of Arita and in Kaga. This resulted in a small and unique group of wares showcasing these brilliantly coloured enamels against stark white porcelain - a contrast to Ninsei's Kyoto wares on yellow-tinged pottery. Due to the incredibly brief period of manufacture in Arita, these scarce early Ninsei-style ko-Kutani porcelain pieces are very rarely seen outside of major museum collections.
Condition
Elegant kintsuji repair to the upper section of the neck.
'Benkei & The Giant Carp' figural ewer, Arita kiln, circa 1700
A rare Arita "Benkei and The Giant Carp" figural ewer modelled in the form of a Japanese warrior riding a giant carp, decorated in underglaze blue, and enamelled in the Kakiemon palette of red, green, purple, and black enamels with gilt highlights, the carp's mouth agape for pouring liquid and with apertures in the warrior's kimono sleeves for filling the vessel
Arita kiln, Kakiemon type, Hizen province, Japan
Edo period (late 17th / early 18th century)
circa 1700
Measuring 25.0 cm long, 14.5 cm high, 7.8 cm wide
A rare and superbly intact Arita figure of "Benkei and The Giant Carp", modelled in the form of a young Japanese warrior riding astride a giant carp naturalistically moulded with scales, bulging eyes, undulating whiskers and decorated in underglaze blue with patches of gilding, the boy wearing an iron-red warriors cloth band tied around his head, his expression showing fierce determination, his body clad in a kimono which has slipped off his left shoulder, his sleeves billowing and pierced open, his kimono enamelled in the Kakiemon palette with green and aubergine spots, black obi and bordered with iron-red trim.
Identical examples of this model can be found in The Ashmolean Museum (Oxford), The Princessehof Museum (Leeuwarden), and The National Museum of Korea (Seoul).
Condition report:
In superb original condition with only minor rubbing to the gilding and some minor areas of the enamels.
Kakiemon Nigoshide deep bowl, Arita circa 1670-90
An outstanding Kakiemon nigoshide porcelain deep bowl superbly enamelled to the interior with a scene of a shishi (Chinese lion) trotting beneath a flowering tree peony, the exterior wall elegantly encircled by a meandering scroll in blue enamel highlighted by iron-red florets
Kakiemon kiln, nigoshide porcelain, Japan
Edo period (17th century), Enpō era
circa 1670-1690
Measurements
18.2 cm diameter; 8.0 cm high
Condition
In excellent original condition with no damage to the nigoshi-de porcelain body and absolutely no fading, damages or losses to the enamels or iron-oxide glazed rim. An original glazed potters ‘notch’ to the edge of the footrim. A museum-quality example.
Exhibition History
Exhibited at the Tobi Art Fair, Tokyo Art Club (Japan) by Otani Fine Art, October 2023.
Publication History
Illustrated in Otani Bijutsu 'Kakiemon and Ninsei-style' (Tokyo) 2023, no. 10. Catalogued as "Kakiemon lion and peony design bowl, 1670s-1690s." (original publication included with sale)
This deep circular bowl was produced using the finest nigoshi-de milky white porcelain with a pearly white luminescent glaze. The enamelling, potting, glaze and porcelain body are of the very highest quality, exemplifying the peak achievements of the Kakiemon workshop. An extremely rare and unusual pattern. An exhibited & published piece showcasing the outstanding beauty and elegance of Kakiemon.
Ruri Ai-Kakiemon Moulded Dish, Arita circa 1670
A superb pale ruri (lapis lazuli) glazed Ai-Kakiemon moulded origami-shaped dish, the extraordinary sharply sculpted form creating a sumptuous trompe l'oeil of masterfully moulded and painted cherry blossoms spilling out from folded origami paper
Kakiemon kiln, Hizen province, Japan
Edo period (17th century), Enpō era
circa 1670
Measurements
17.0 cm long; 13.6 cm wide; 3.0 cm high
Condition
In excellent, original condition with no damage to the porcelain body. Original, slightly darkened edges and kiln grit from firing. A museum-quality example.
A masterpiece of form and decoration, with an identical example featured on the cover of the Shibata catalogue, this sharply sculpted origami-shaped dish is an iconic example of ruri ko-Kutani at its zenith. The front and back are coated in a velvety pale lapis lazuli glaze which showcases the exquisitely painted cherry blossoms and leaves cascading over the folded-paper form. The reverse with four very finely drawn characters which may be translated to read "made in the year of wealth & honours".
An identical dish in the Shibata Collection at the Kyushu Ceramic Museum (Arita, Japan), illustrated in Complete Catalogue of Shibata Collection (2019), no.1487. Another identical dish with very similar kiln grit adhesions fused into the glaze, in the Toguri Museum of Art (Tokyo, Japan).
Remarkably, The Toguri & Shibata museum examples are very likely decorated by the same hand as the present example.
'Pair of Kakiemon ShiShi water droppers, Arita kiln, circa 1700
An extremely rare and characterful pair of Kakiemon suiteki (water-droppers) modelled in the form of recumbent shishi (Chinese Buddhist lion-dogs), enamelled in a vibrant Kakiemon palette of green, blue and puce enamel, with black outlining and iron-red
Kakiemon type, Hizen province, Japan
Edo period (late 17th/early 18th century)
Measuring 14.5 cm long (Shishi A); 12.0 cm long (Shishi B)
Finely modelled, the beasts recumbent with heads slightly turned and raised in an alert pose, the eyes clearly cast and picked out in black outlining, both nostrils pierced (as double water-drop holes) and rimmed in iron-red above outlined lips baring canine teeth, the ribs indicated by a series of deep striations enamelled in puce, tight puce coils of fur at the spine terminating in a pointed iron-red tail swept to one side, each leg lined with a ridge of puce fur above the finely cast and moulded paws.
It is notable that the colour palette bears striking similarity to the two documentary seated shishi at Burghley House - featuring predominantly green and blue with puce being included, yet unusually the oft-used yellow enamel fugitive in both of these models.
One other known example of Shishi A was sold Sotheby's (London) Japanese Works of Art, 19 June 2001, lot 307, described in the catalogue as "A Kakiemon Suiteki (Water-dropper) in the form of a recumbent shishi, each nostril and one shoulder pierced with a hole, painted in green, blue and yellow enamels with black outlines and small areas of iron-red". The catalogue notes that "while numerous Kakiemon models of shishi are known, usually sitting on their haunches, waterdroppers are rare."
Proto-Kakiemon early enamelled vase & cover, Arita kiln, circa 1650
An extremely rare proto-Kakiemon Early Enamelled Ware 'Willow World' jar and cover, of squat ovoid form with short neck, painted with fluid artistry in a very early palette of vibrant green and blue enamels, black outlining and deep iron-red featuring a continuous landscape scene with a pair of row boats in a bay and small huts on a promontory beneath cascading willow and pine trees
Early Enamelled ware, Proto Kakiemon type enamelling, Arita kiln, Hizen province, Japan
Edo period (mid 17th century)
circa 1650
Measurements
12.0 cm high by 9.0 cm wide
An exceptionally rare proto Kakiemon Early Enamelled Ware jar / vase and cover, of squat ovoid form with short neck, painted with fluid artistry in very early vibrant green and blue enamels, black outlining and deep iron-red featuring a continuous lake scene with a pair of row boats in a bay and small huts on a promontory dotted with spruce and pine trees, all beneath the cascading branches of a willow tree. An iron-red continuous hatched band around the shoulder, concentric iron-red rings around the lower section and footrim. The cover similarly decorated with a 'Willow World' continuous landscape scene bordered by concentric iron-red rings, the squat knop undecorated. It is notable that the enamels of this early example lack the later, oft-used yellow enamel.
Note: a similar example of this exceedingly rare jar can be found in The Ashmolean Museum (Oxford), Reitlinger gift, noted by Dr. Oliver Impey as "a very rare small version of the jar....early enamelled ware....landscape with sketchy indications of hills, pines, drying nets, junks and willow tree" (Impey Japanese Export Porcelain, 2002, p.70).
Kakiemon Kendi with Phoenix, Arita circa 1660-80
An extremely rare & gorgeously enamelled early Kakiemon kendi-form vessel (gorgelet), the bulbous body very finely decorated with iron-red, blue, green and black enamels featuring two large lotus-shaped panels separated by a flamboyant blue and green phoenix, with integral gourd-form spout terminating in an enamel blue-washed nipple, the cylindrical neck with flared lip decorated with clouds
Early Enamelled Ware, Kakiemon type, Hizen province, Japan
Edo period (mid 17th century)
circa 1660-80
Measurements
22.0 cm high, 17.5 cm wide
Condition
In very fine original condition with only minor rubbing to enamels and very minor glaze crazing.
The bulbous body with gourd-form spout very finely decorated in iron-red, blue, green and black enamels with two large lotus-shaped panels separated by a flamboyant blue and green phoenix, the cylindrical neck decorated with Chinese Transitional style tulips motifs and terminating in an extruded lip with stylized clouds, the mammiform spout decorated with stylized clouds with the nipple covered in blue enamel.
The kendi is an ancient form of drinking vessel widely used across Asia with no handle; one holds the vessel by the neck and drinks from the spout. As noted by Volker (1954), the shipping records from the Netherlandish VOC trading ship Buienskerke (sailed from Nagasaki 4 November 1662) list 50 Japanese gorgoletten as part of their porcelain cargo destined for Holland; Volker identifies the gorgelet as a kendi-form vessel.
Ruri Ko-Kutani footed tray, Arita circa 1655-60
A magnificent & very rare Fuji-yama Ko-Kutani footed tray, the surface covered in a soft ruri (lapis lazuli) glaze and superbly enamelled with a kin-ginsai (gold and silver) scene of Mount Fuji, it's majestic peak rising above low-hanging clouds with gold fukizumi (blown ink) scattered snow
Arita, Chokichidani kiln, Ko-Kutani ruri kin-ginsai type, Japan
Edo period (mid-17th century), Meireki-Manji era
circa 1655-60
Measurements
19.0 cm long; 19.0 cm wide; 4.2 cm high
Condition
In excellent original condition with no losses or wear to the gilding. Minor glaze hairline.
Of square sided form with bevelled and indented corners, the flattened lip decorated with dark cobalt edging, highlighted by scrolling tendrils in iron-red and gilding, the well softly dressed in pale blue ruri (lapis lazuli) glaze scattered with gold fukizumi (blown ink) snow drifts. The snow-covered peaks of Mount Fuji rising asymmetrically to the left of the well, appearing as an apparition above the low-hanging and slowly drifting golden clouds. A clump of dark cobalt grasses asymmetrically placed in the lower right foreground. The tray elegantly raised on four scroll feet. The flat underside left unglazed.
An almost identical square footed dish with ruyi (lapis lazuli) glaze and kin-ginsai (gold and silver enamel) decoration of Mount Fuji is found in the Shibata Collection at the Kyushu Ceramic Museum, illustrated in Complete Catalogue of Shibata Collection (2019) no.738.
Ruri Ko-Kutani kin-ginsai water dropper, Arita kiln, circa 1655-60
An extremely rare and important Ko-Kutani suiteki water dropper in the form of an aubergine (eggplant), the surface covered in a rich lapis lazuli ruri glaze and enamelled with a landscape and pavillion scene in red enamel, gold and silver ginsai decoration
Ko-Kutani ruri ginsai type, Arita kiln, Hizen province, Japan
Edo Period (mid-17th century), Meireki-Manji period
circa 1655-60
Measurements
7.5 cm in height by 7.5 cm in length
Condition
In pristine original condition.
Of extraordinarily finely modelled naturalistic form, the substantially potted bulbous body in the form of an eggplant, covered with an extremely pleasing ruri blue ground (lapis lazuli) glaze, the body enamelled with gold, silver and red decoration depicting a hut on an rocky embankment surrounded by pine trees, the naturalistically moulded leaves of the eggplant picked out with gold and red enamel, the stem of the eggplant opening to an upwards-pointing mouth with a small pierced airhole nearby among the leaves. The base unglazed.
The form is likely derived from Chinese examples of the Ming dynasty, such as the eggplant water-dropper in The British Museum PDF B694 described as "Porcelain water-dropper in form of an aubergine with stem-shaped spout with relief leaves....Naturalistic details painted on the leaves and stem. Ming Dynasty circa 1590-1610".
Early Enamelled Ware, Kakiemon related, Arita, circa 1650-75
An important set of five 17th century Early Enamelled Ware (Kakiemon related) abalone shell shaped mukōzuke dishes, brilliantly enamelled in overglaze blue, green and black with a flowering Himalayan blue poppy and two seed-heads issuing from the scalloped dish edge
Arita, Early Enamelled Ware, Kakiemon related, Hizen province, Japan
early Edo period (mid-late 17th century)
12.9 cm long x 9 cm wide x 2.9 cm high
Literature:
See Impey, Oliver, Japanese Export Porcelain: Catalogue of the Collection of the Ashmolean Museum, Oxford (Amsterdam: Hotei Publishing, 2002), pg.93, no.97 (Story Fund, 1989.168) for the only other known recorded identical example, categorized as Early Enamelled Ware; Kakiemon-related.
The present set of five abalone shaped dishes enamelled in blue, green and black with flowering poppies sprouting from the scalloped dish edge represent a brilliantly executed production of bright, almost translucent colouring in the very early enamelled ware of Japan.
An identical example to the present set was acquired by the Ashmolean Museum (Oxford, UK) in 1989 (Story Fund 1989.168) classified by Dr. Oliver Impey as "Early Enamelled Ware - Kakiemon related style, Arita". This extraordinarly rare early enamelled blue poppy dish has been catagorized both as Ko-Kutani and early Kakiemon lineage.
ko-Kutani/ko-Nabeshima bowl, Arita circa 1648-55
A highly refined Ko-Kutani/Ko-Nabeshima transitional teabowl enamelled with twin ho-o birds (phoenix) in flight, encircling an underglaze cobalt blue medallion of scrolling octopus arabesques rendered in two-tone lapis-lazuli, the reverse exquisitely painted in the Nabeshima taste with three hanakarakusa (flower arabesque pattern)
Arita kiln, Ko-Kutani/Ko-Nabeshima transitional ware, Hizen province, Japan, Edo period, Keian-Joo era (1648-1655)
circa 1648-55
Measurements
14.6 cm diameter x 5.1 cm high
Condition
In very good condition with no wear to the brilliant enamels. One miniscule fleabite to the edge of the footrim. A tiny notch to the porcelain rim edge of the bowl - likely original and glazed over. One very faint hairline extending from the rim approximately 1.5cm.
The exterior underglaze blue arabesque patterns of this highly refined wide and shallow teabowl are characteristic of those found on Ko-Nabeshima (early Nabeshima) ware. This enamelled and underglaze blue teabowl appears to be a rare transitional work created during the evolution from the Ko-Kutani style toward the Ko-Nabeshima style.
An important and highly rare transitional piece, linking the two lineages of Ko-Kutani and Nabeshima.
Kakiemon/ko-Nabeshima lozenge-shaped dish, Arita circa 1650-80
A very fine and rare Kakiemon lozenge-shaped dish in the Nabeshima taste, elegantly moulded and exquisitely enamelled with a pair of Immortal Phoenix (ho-o birds) chasing the Sun
Arita, Kakiemon enamelling (the body likely early Nabeshima), Japan
Edo period (17th century)
circa 1650-80
Measurements
14.6 cm wide; 13.6 cm long
Condition
Excellent original condition, with a small 6mm glazed notch on the side of the rim. The enamels in exceptional condition.
The superbly moulded porcelain body exquisitely decorated in the Kakiemon style with polychrome enamels of iron-red, deep blue, turquoise green, and black. The reverse sides with underglaze cobalt blue chrysanthemum and arabesque scrolls. The body and high foot formed with the "thread cutting" technique, which is one of the hallmarks of Nabeshima ware. Sherds from the same moulds and with identical underglaze cobalt blue decoration to the underside were uncovered at the historical Nabeshima clan kiln site of Okawachiyama.
The pairing of the Peony (The King of Flowers) with the Immortal Phoenix (The King of Birds) represents a highly auspicious design that promises blessings and prosperity.
Early Enamelled ko-Kutani dish, Arita circa 1648-55
A very fine and rare Early Enamelled Arita Aote Ko-Kutani non-biscuit (namagake) porcelain dish depicting seaweed, algae & clam shells
Arita kiln, Early Enamelled ware, Ko Kutani type or an early enamellers workshop in the Aote palette, Hizen province, Japan
early Edo period, Keian-Joo era (1648-1655)
circa 1648-55
Measurements
21.0 cm diameter x 2.7 cm high
Condition
Excellent original condition with virtually no wear to enamels. Slight depression to the centre due to natural sagging in the kiln.
This early Arita-kiln porcelain of circular form with gently flared rim is uniquely painted with a very unusual combination of enamelled colours in the Aote ko-Kutani palette (brilliant deep green, mustard yellow, and bold aubergine, with black outlining) yet also demonstrating a refined use of blank space, as later adopted by the Kakiemon. An unusual transitional piece. The underside undecorated.
With a tomobako wood storage box and ribbon tie.
Ko-Kutani leaf moulded dish, Arita kiln, circa 1650
An extremely rare mid 17th century Early Enamelled (iroe) Arita Ko-Kutani type non-biscuit (namagake) porcelain dish enamelled with a single deer at the edge of a forest with its gaze turned towards the sunset, the reverse superbly modelled as a leaf with naturalistic veining and footrim formed as a twisted twig
Arita kiln, Early Enamelled ware, Ko Kutani type or an early enamellers workshop, Hizen province, Japan
early Edo period (mid 17th century)
circa 1650
Measurements
16.4 cm long by 3.4 cm high
Condition
In very good original condition with small original firing fault to the edge at 2 o'clock; two tiny hairlines to the edge.
Decorated with a lone male deer enamelled in deep aubergine with black outlining, beneath a curved tree enamelled in aubergine with green leaves at the forests edge, perched atop a deep yellow enamelled rocky cliff with green vegetation, the design featuring a superb asymmetrical use of blank space, epitomizing the Japanese Beauty of Emptiness (yohaku no bi). The reverse revealing an absolutely superb and naturalistically modelled rendition of the underside of a leaf, the footrim in the form of a twisted twig.
An identical dish in the Shibata Collection at the Kyushu Ceramic Museum, illustrated in Complete Catalogue of Shibata Collection (2019), no.0425, dated 1650-60, catalogued as "Coloured deer leaf-shaped plate 1650s-1660s Length 16.2cm, width 12.4cm height 3.1cm".
Kakiemon nigoshide bowl, Nangawara kiln circa 1670-80
A very fine and rare Arita Kakiemon nigoshide bowl enamelled in bright blue and vermillion red-orange with circular, asymmetrically-placed leaf medallions depicting cherry blossoms, flowering peony and fruiting peaches
Nangawara kiln, Kakiemon type, Hizen province, Japan
Edo period, Enpo era (1673-1681)
circa 1670-80
Measurements
8.5 cm diameter; 5.0 cm high
Condition
In superb original condition.
The masterfully executed vessel amalgamates the fundamental characteristics of prime period Kakiemon at its zenith. The bowl is thrown from a highly refined nigoshide body yielding a stark, milky-white translucent surface, brilliantly acting as a blank canvas to elevate the clarity of the striking enamels and the use of negative space. Four roundels that appear to float and move around the exterior wall of the vessel offer an elegant combination of soft blue enamel blossoms and fruiting peaches nested within dense, flowing layers of overglaze iron-red (persimmon-orange) foliage. As one rotates the bowl, the asymmetrical placement of the organic roundels reveals a dramatic shift in compositional weight, a defining trait of true Kakiemon masterworks. This strategic implementation of Ma (Negative Space) focuses attention on the purity, texture, and natural lustre of the white porcelain body.
Ruri kin-ginsai Mount Fuji dish, Chokichidani kiln, circa 1655
A superb and extremely rare Fuji-yama Ko-Kutani dish from the Chokichidani kiln, the surface covered in a rich ruri (lapis lazuli) glaze and enamelled with a kin-ginsai (gold and silver) scene of Mount Fuji, it's peaks decorated with silver fukizumi (blown ink) snow decoration, the base with autumnal trees and the sky with low-hanging clouds in red, gold and silver
Ko-Kutani ruri kin-ginsai type, Chokichidani kiln, Hizen province, Japan
Edo Period (mid-17th century), Meireki-Manji period
circa 1655-60
Measuring 14.5 cm diameter by 2.9 cm high
Mark:
Large and exquisitely drawn circular homare ("esteemed") mark to the reverse. This scarce mark was used at the Chokichidani kiln for a very short period (1650-70), to indicate wares that were highly-prized or "esteemed".
Condition Report:
In pristine original condition.
A Square ko-Kutani ruri ginsai plate mid-17th century decorated in iron-red enamel, silver and gilt with clouds and Mt. Fuji on a blue ground, sold Sothebys (New York) Japanese & Korean Works of Art, 16 Oct 2001, lot 111.
A square dish with ruyi (lapis lazuli) glaze and kin ginsai (gold and silver enamel) decoration of Mount Fuji is found in the Shibata Collection at the Kyushu Ceramic Museum, illustrated in Complete Catalogue of Shibata Collection (2019) no.738.
ruri Ko-Kutani kin-ginsai Mount Fuji dish, Arita kiln, circa 1655
An extremely rare Fuji-yama Ko-Kutani dish, the surface covered in a soft, pale ruri (lapis lazuli) glaze and enamelled with a kin-ginsai (gold and silver) stormy scene of Mount Fuji enveloped in dramatically swirling, low-hanging clouds in iron-red and silver with gold bolts of lightening
Ko-Kutani ruri kin-ginsai type, Arita kiln, Hizen province, Japan
Edo Period (mid-17th century), Meireki-Manji period
circa 1655-60
Measurements
14.5 cm diameter by 2.0 cm high
Condition
In pristine original condition.
The front surface covered in a velvety, pale lapis lazuli glaze featuring a dramatic, stormy view of Mount Fuji with swirling, low-hanging clouds in iron-red and silver highlighted by flashing gold bolts of lightening, the flat rim embellished with silver scrolling tendrils, the reverse undecorated and with a white glaze. An extremely rare example in perfect condition.
According to Idemitsu Museum of Arts "It is thought that gold, silver, and silver began to be used in the 1650s as decorations for specially ordered and expensive vessels, and there is a mention of gold, silver, and color in the "Kaku", a document of the art school which notes that "gold and silver decorated pieces under special order were requested by Chinshiki Yuchu, Tanshu Midori, Iribe no Bushi, Noso Kurobei-dono's intermediary, Hatte Mt. On a certain occasion, he presented a Mt. Fuji-shaped pot decorated with gold and silver and a choko cup to Tanshu-sama (the second lord of the Nabe Tame domain, Mitsushige) at his private club. It seems that gold wire decoration had begun by the year 1658.
Kakiemon Model of a kitsune (Guardian Fox), Arita kiln, early 18th century
An exceptionally fine and rare Arita porcelain model of a howling Japanese kitsune (Guardian Fox), a divine messenger of the goddess Inari (Shinto deity of prosperity and success), enamelled in black, iron-red, red wash, and turquoise green with gilt highlights,
Arita, Kakiemon style, Edo period, early 18th century
Arita kiln, Kakiemon style, Hizen province, Japan
Edo period (early 18th century)
Measurements
22.0cm high by 18.0cm long by 8.5cm wide
Condition
Generally very fine, original condition with an extensive original firing flaw leaving kiln debris & faults to mouth area and extending to right eye.
No restoration evident under UV light.
Flat pad bottom with textile imprint.
Powerfully and naturalistically modelled with sinuous twisting form, seated with upraised head turned to the right, ears pricked and mouth agape revealing teeth and tongue. The bushy tail and paws incised with realistic fur markings, the upturned tail terminating in a gilded hoshi no tama (spirit ball containing the soul of the kitsune). An iron-red collar with attached gilded bell modeled around the neck. Left forepaw protectively concealing a gilded jade-coloured treasure urn resting on the left hindpaw.
Note: Appears to be a previously unrecorded model.
Early Enamelled Ko-Kutani dish, Arita circa 1650
A very rare mid 17th century Early Enamelled (iroe) Arita Ko-Kutani type non-biscuit (namagake) porcelain dish enamelled with a vibrant sprig of horse chestnut encirled by folded pine needles
Ko Kutani type, Arita kiln, Hizen province, Japan
early Edo period (mid 17th century)
circa 1650
Measurements
14.3cm diameter and 2.0cm high
Condition
In very good condition with small kintsugi (gold lacquer) repair to the rim. Two miniscule hairlines noted on the rim (see images).
The enamels in superb condition.
Decorated with an asymmetrically placed sprig bearing a horse chestnut enamelled in brilliant green with internal sections of aubergine and yellow outlined in black, the leaves in green and deep yellow, the design featuring superb asymmetrical use of blank space, epitomizing the Japanese Beauty of Emptiness (yohaku no bi). The flat rim enamelled with three folded pine needles in iron-red, green and black outlining.
The reverse with a central green enamel and black outlined 'Fuku' character mark, the reverse rim with three folded pine needles in iron-red, green and black outlining.
Early Enamelled Kakiemon Bowl, Arita kiln, circa 1650
An extremely rare and attractive mid 17th century Early Enamelled Ware bowl decorated in the very early Kakiemon palette with a pavilion and waterfall
Arita kiln, Kakiemon type, Hizen province, Japan
early Edo period, Joo era (1650-55)
circa 1650
Measuring 4.5 inches (11.5 cm) diameter and 2.5 inches (6.5 cm) high
Enamelled in brilliantly translucent and vibrant tones of overglaze blue and green enamels with rich iron-red enamels and black outlining. The continuous landscape featuring a pavilion nested between rocky outcrops and pine trees beside a waterfall with grasses and young pine growing from behind rocks. The use of blank space in contrast with the vividly enamelled landscape scene is particularly effective in this composition.
Comes in a custom purple silk shifuku 仕服 pouch tied with gold braided silk cord and stored in a fitted paulownia wood storage box with silk ribbons.
A magnificent and vibrant example of Early Enamelled Ware.
Two identical bowls were sold at Bonhams (Old Bond St, London) Fine Japanese Art, 6 November 2007, lot 348 "Early porcelain - A pair of matching Kakiemon bowls c1650-70".
Early Enamelled dish, Ko-Kutani type, Arita kiln, circa 1650-55
A very rare mid 17th century early enamelled (iroe) Arita Ko-Kutani type porcelain dish enamelled with octopus arabesques & cherry blossoms, Arita, c1650-55
Arita kiln, Early Enamelled ko-Kutani type, Hizen province, Japan
early Edo period (mid 17th century)
circa 1650-55
Measuring 15.0 cm (6.0") in diameter; 3.5 cm (1.5") in height
The rather thickly potted white porcelain dish of circular form with a flared rim, the interior asymmetrically painted in underglaze blue with flowering chrysanthemums and leaves which unusually wrap completely around the rim of the dish and continue uninterrupted onto the reverse. Enamelled in overglaze rich yellow tako-karakusa (octopus arabesque scrolls) and with five brick-red overglaze cherry blossoms which appear to float on circular reserves.
The coloured palette is traditionally associated with the early enamelled wares of the town of Kutani. Though it was previously thought that this type of Japanese porcelain was made at the Old Kutani kilns in Enuma County, it is now accepted that dish was made in the middle of the 17th century in the Arita kilns. We can now call this type of early Japanese porcelain "Arita porcelain of Ko-Kutani type".
The reverse with a particularly high foot rim and fuku mark in underglaze blue, now associated with the Kusunokidani kiln, Arita, Japan.
Enamelled Nigoshide dish, Kakiemon kiln circa 1690-1710
A very fine & rare relief-moulded Kakiemon nigoshide porcelain serving dish brilliantly enamelled with The Three Friends of Winter (Pine, Prunus & Bamboo)
Nigoshide porcelain, Kakiemon kiln, Hizen province, Japan
Edo period, Genroku Era (1688-1703)/Hōei Era (1704-1711)
circa 1690-1710
Literature:
A pair of identical long dishes in The British Museum. In The British Museum Quarterly, The Kington Baker Bequest, volume 14, Soame Jenyns notes: "the bequest from the small but choice collection of the late Mr. Kington Baker has yielded several interesting pieces of Japanese porcelain to the Museum collections. In particular six pieces of porcelain decorated in polychrome enamels in the style of the potter Kakiemon....the elegant quatrefoil tray (PL XXI) shows a thick greasy white glaze....this is almost transparent and full of bubbles. The enamels if anything are even more brilliant, and they have been traced over a raised design of a fir-tree, prunus, and bamboo, amid rocks and clouds. It is difficult to date this piece with any security, but I should place it...possibly about 1700."
Oblong serving tray, or long dish, with fluted corners, the elegantly press-moulded nigoshide porcelain body with shallow relief-moulded decoration featuring a central large pine tree issuing from a Scholar’s Rock, its gnarled trunk extending upwards into a swirling bank of ruyi clouds, the cavetto also relief-moulded with blossoming prunus and bamboo amongst rockwork; the relief-moulding decorated in the Kakiemon style with polychrome enamels of iron-red, blue, turquoise, yellow and black with gilt highlights. The reverse undecorated.
Length 20.2 cm (8.3 inches)
Large Kakiemon nigoshide bowl, Arita circa 1680
A very fine, rare & large Kakiemon nigoshide porcelain serving bowl with elegantly cut-out scalloped sides, the interior masterfully enamelled with four sprays of Autumnal flowing plants, the exterior sides with four brilliantly executed blue enamel arabesque scrolls
Kakiemon kiln, Hizen province, Japan
Edo period (17th century), Enpō era
circa 1680
Measurements
19.0 cm diameter; 4.3 cm high
Condition
In very good condition with six tiny chips to the scalloped edges, each elegantly repaired with traditional kintsugi (gold) lacquer. The enamels and glaze in exceptional original condition.
A remarkably large square serving bowl with scalloped cut-out sides, the elegantly formed nigoshi-de porcelain body exquisitely decorated in the Kakiemon style with polychrome enamels of iron-red, deep blue, turquoise green, and black. The reverse sides with superbly drawn blue enamel arabesque scrolls. While smaller versions of this form are documented in collection such as The British Museum and the Ashmolean Museum (Oxford), we can find no other recorded examples of this large and impressive scale.
NOTE: An extremely rare form in this size.
Ko-Kutani bowl, Arita kiln, circa 1650
A mid 17th century Early Enamelled (iroe) Arita Ko-Kutani type non-biscuit (namagake) porcelain bowl vibrantly enamelled with a butterfly in flight amidst flowering peonies
Arita kiln, Early Enamelled ware, Ko Kutani type or an early enamellers workshop, Hizen province, Japan
early Edo period (mid 17th century)
circa 1650
Measuring 16.5 cm long by 4.5 cm high
Decorated with a butterfly in flight amidst flowering peonies in a vibrant palette of aubergine, rich emerald green, deep blue, dark yellow and opaque red with black outling, with a superb asymmetrical use of blank space, epitomizing the Japanese Beauty of Emptiness (yohaku no bi). The reverse undecorated.
The coloured palette is traditionally associated with the early enamelled wares of the town of Kutani. Though it was previously thought that this type of Japanese porcelain was made at the Old Kutani kilns in Enuma County, it is now accepted that this thinly potted shallow circular bowl was made in the middle of the 17th century in the Arita kilns. We can now call this type of early Japanese porcelain "Arita porcelain of Ko-Kutani type".
Condition
In perfect original condition with no damages or restoration.
Early enamelled ware, Ko-Kutani type, Arita kiln circa 1650
An Important and Exceptionally Fine Early Enamelled Arita Iroe Ko-Kutani non-biscuit (namagake) porcelain dish
depicting Wild Geese and Reed (Ashi Gan No Zu)
Early Enamelled Ware, previously called Ko-Kutani type, Arita kiln, Hizen province, Japan
early Edo period (mid 17th century), Joo era (1650-55)
circa 1650
Measuring 14cm (5.51 inches) in diameter
With outstretched wings, a wild goose decends to the waters below, honking greeting at his mate who stands by another goose on a reedy sandbank. This theme of 'Goose Descending to Sandbar' is derived from the great Song cycle of painting - 'Eight Views of the Xiao and Xiang Rivers', the earliest known painted version by Song Di (c.1015 - c.1080). This theme was beloved in Japan. The composition on this piece is very similar to a silk painting by Lu Ji (c.1420 - c.1505) entitled 'Lu ding lai yan' ('Wild Geese Returning to Reedy Sandbank') illustrated in Gugong shuhua tulu (Palace Museum Catalogue of Calligraphy and Paintings), col.7, p.179. The theme of geese in late autumn on a lonely river bank heralds the coming of winter.
This very early Arita-kiln non-biscuit (namagake) porcelain of circular form with gently flared rim is covered with a very pale bluish-grey glaze, the interior superbly painted with the five overglaze enamels of pale yellow, brilliant blue, turquoise green, iron red and bold aubergine, with black outlining, depicting a wild goose in flight above two geese standing amongst reeds on a sandbank. The underside is decorated with black outlined turquoise-green symbolic objects and iron red tassels. This early enamelled dish was manufactured in Arita just before trade with Europe through the V.O.C. (Dutch East India Company) began.
Ai-Kakiemon snowflakes & mountain stream Dish, Arita kiln, circa 1670-80
An extremely fine Ai-Kakiemon dish superbly and fluidly painted with falling snowflakes & winding mountain stream design
Ai-Kakiemon type, Arita kiln, Hizen province, Japan
Edo Period (mid-17th century), Enpō period
circa 1670-80
Measurements
8 inches in diameter (21.5 cm); 0.85 inches in height (2.2 cm)
The very finely potted porcelain body of shallow circular form was produced during the pinnacle of the Prime Period of porcelain production in Arita. An outstanding example.
An identical dish titled as "The Snow Flakes over Stream Design Medium Plate" is illustrated in Kazuo Seki's Beauty of Prime Period Imari: selected works of under-glazed blue porcelain (Tokyo 1990), catalogue number 121, p.49 and p.87.
Another identical dish is in the Collection of The Gardiner Museum of Ceramic Art (Toronto); Macdonald Collection of Japanese Porcelain (Toronto), museum number G20.9.5.
Ai-Kutani spiral-moulded two quail dish, Arita kiln, circa 1650-55
A fine & early Ai-Kutani spiral-moulded 'pie-crust' dish, the centre painted in bold underglaze cobalt blue with an amusing pair of quail running along a gully beneath a towering banana leaf
Chokichidani kiln, Ai-Kutani type, Arita ware, Hizen province, Japan
Early Edo Period (mid-17th century)
circa 1650-55
Measurements
20.1 cm diameter; 2.6 cm high
Condition
In excellent original condition.
The interior is boldly and cheerfully painted in underglaze cobalt blue featuring a large circular medallion with Chinese ko-sometsuke style ruri-head border, the central scene depicting an amusing pair of quail running along a gully beneath a towering asymmetrical banana leaf plant.
Very wide footrim and unusual size. The reverse with scattered folded pine needles. On the base is a very large variant fuku mark known to have been used at the Chokichidani kiln circa 1650-60. Three spur marks on the base where the dish rested on its sagger in the kiln.
Comparable Examples
An identical dish in the Shibata Collection at the Kyushu Ceramic Museum, illustrated in Complete Catalogue of Shibata Collection (2019), no.0402, dated 1650-60.
Kin-ginsai Ko-Kutani dish, Arita circa 1655
A rare mid-17th century Ko-Kutani moulded kin-ginsai mukozuke dish moulded in the form of an eggplant, painted in underglaze cobalt blue with a pair of Mandarin ducks on a cresting wave, brilliantly highlighted by kin-ginsai gold and silver enamels and iron-red decoration
Arita kiln, kin-ginsai Ko-Kutani type, Japan
Edo period (mid-17th century), Joo era (1650-55)
circa 1655
Measurements
15.0cm wide; 11.6 cm long
Condition
In excellent original condition. Gold, silver and iron-red decoration in pristine condition. A museum-quality example.
Exhibiting exceptionally fine moulding, underglaze blue painting and superb overglaze gold, silver and iron-red highlights, this early eggplant-shaped mukozuke dish showcases the unique and inventive characteristics of the early Japanese workshops. The pair of Mandarin ducks, exquisitely painted in rich tones of underglaze cobalt blue on a vibrantly cresting wave is perfectly captured inside the unusual upside-down eggplant form.
The striking kin-ginsai gold & silver enamel decoration with iron-red highlights has survived the centuries in pristine condition. The reverse is elegantly encircled with flowering morning Glory vines. On the base, a large and boldy drawn fuku mark within a single square, indicative of its early dating.
Ai-Kutani, Kusunokidani kiln, circa 1650-70
A very fine 17th century Ai-Kutani spiral moulded dish with pie-crust rim and sharply undulating cavetto, richly painted with a pair of deer climbing a rocky outcrop
Ai-Kutani type, Kusunokidani kiln, Arita, Hizen province, Japan
early Edo period (mid 17th century)
circa 1650-70
Measurements
22.1 cm diameter; 2.4 cm high
Mark
An unusual fuku mark to the reverse.
Condition
Excellent, original condition with only one barely perceptible hairline to the rim at 10 o’clock.
The very finely potted white porcelain body of shallow circular form with a sharply moulded pie crust rim dressed in iron brown fuchi-beni rim glaze with a superbly formed cavetto of undulating, spiralling form. The interior is boldly painted with an asymmetrical scene of a male and female deer climbing a rocky outcrop. Sanskrit characters encircling the well. The asymmetry of the design provides an excellent example of the Japanese aesthetic of The Beauty of Empty Space.
An identical dish in the Shibata Collection (Kyushu Museum), illustrated in Complete Catalogue of Shibata Collection (2019) no.0604 dated 1650-70.
Bird form kōgō (incense container), Arita kiln, circa 1660-80
A delightful and very rare 17th century Arita porcelain bird form kōgō (incense container) in the shape of a swallow, its alert head tilted inquisitively to the left, with delicately moulded wings crossed upon its back, finely and naturalistically painted in underglaze cobalt blue
Arita ware, Hizen province, Japan
Edo Period (17th century)
circa 1660-80
Measuring 9.2 cm in length by 3.8 cm in height
A very rare and attractive bird form porcelain box (incense container) in the shape of a swallow, with details and feathers finely and naturalistically painted in underglaze cobalt blue, the lower oval body form section in plain white glaze.
The important documentary Japanese porcelain shipment of the 'Nieuwenhoven', a vessel of the Dutch East India Compay which transported the first recorded Japanese porcelain shipment out of the 'Amerongen' from Batavia in 1665, includes in its cargo list '298 little swallows' (small boxes in the shape of swallows) which were shipped to Holland and quickly sparked a Japanese porcelain craze throughout the noble and aristocratic houses of Europe.
Ai-Kakiemon, Old Kakiiemon kiln B circa 1670
A very fine Ai-Kakiemon dish on high foot in the Nabeshima taste
superbly painted with gnarled prunus tree, banded hedge & snowflakes
Old Kakiemon B kiln, Ai-Kakiemon type, Arita, Hizen province, Japan
early Edo period (17th century)
Kanbun era (1660-1673)/Enpo Era (1673-1680)
circa 1670
Measuring 15.3cm diameter ; 3.5cm high
Of moulded form with scalloped rim dressed in iron-red fuchi-beni (lip rouge), sublimely decorated in underglaze cobalt blue with an assymmetrical scene of snowflakes drifting onto banded hedge fences enclosing ancient gnarled prunus (blossoming cherry) trees.
Delicately moulded and painted in the Nabeshima taste, the dish is raised on a notably high foot painted with comb design and two concentric rings, the reverse of the dish assymmetrically decorated with flower sprays.
The reverse bears a single spur mark and character mark within a double square. This character mark, originally the inscription of the Kusunokitani kiln around the 1650s is seen in the works of the Chokichidani kiln, and the Old Kakiemon kilns, especially Old Kakiemon B kiln. This character mark was in use in the Old Kakiemon B kiln beginning around 1660 and out of use by 1680.
Ai-Kakiemon, Nangawara kiln, Arita, circa 1690
An Important Documentary blue & white Kakiemon dish
Genroku era (1688-1703)
from the Royal Collection of Augustus the Strong of Saxony,
marked on reverse with Wheel-Incised JOHANNEUM Japanese Palace Inventory number 'N:184~~~'
Ai-Kakiemon type, Nangawara kiln, Hizen province, Japan
Edo period (17th century)
Genroku era (1688-1703)
circa 1690
Measuring 23.8 cm in diameter
Marks:
Bearing fuku mark for 'happiness' in underglaze blue, and incised with the Johanneum inventory number N:184 ~~~ from the Japanese Palace, Dresden.
Provenance:
From the Royal Collections of Augustus the Strong (1670-1733), Elector of Saxony and King of Poland
This superby painted Ai-Kakiemon (blue Kakiemon) dish displays the finest Kakiemon features, the floriform rim moulded in ten pointed lobes edged in fuchi-beni iron-rim dressing. Painted in exceptionally fine and rich graduated underglaze cobalt blue tones with a snarling tiger beneath a grinning dragon, the former representing The Earth, the latter allegorical of The Heavens.
Literature: An identical example (without the Johanneum inventory mark) is held in the collection of The Stichting Twickel, Delden, The Netherlands, JK 38, and is illustrated in The Oriental Ceramics Society publication 'Porcelain for Palaces: The Fashion for Japan in Europe, 1650-1750' (1990), plate 126.
Ai-Kakiemon, Kusunokidani or Old kakiemon kiln B circa 1660-70
An Exceptionally Fine and Early Ai-Kakiemon moulded porcelain small dish (mame-sara) in the form of an open peony flower, the petals painted in sumptuous cobalt blue tones with highlights picked out using ink-repel technique (sumi hajiki)
Kusunokidani kiln or Old Kakiemon B kiln, Hizen province, Japan
early Edo period, Kanbun era (1660-1673)
circa 1660-1670
Measuring 10.8cm long by 6.5cm wide
Extremely finely and delicately moulded floral form on a high foot, gorgeously painted in rich and varied tones of cobalt blue in the naturalistic form of an open peony flower, the petals elegantly decorated using sumi hajiki technique (literally meaning "ink repel”) in which ink is applied under areas of cobalt; during firing, the ink burns off removing any overlying color (Wilson 1995:118). The underside decorated with delicate sprigs of daffodils; the high footrim encircled by a comb design in the Nabeshima taste.
These small dishes, called mame-sara 豆皿 are revered in Japan; there is a love of the aesthetic beauty of small objects that fit into the palm of one’s hand. This particular example is extremely finely potted and painted.
A simply superb example representing the early Ai-Kakiemon style manufactured in either the Kusunokidani kiln or Old Kakiemon B kiln in Shimo-Nangawarayama in the Kanbun period. Recent research has suggested that Kakiemon I (1586-1666) worked at the Kusunokidani kiln before moving to Nangawara to establish his own kiln (Old Kakiemon B kiln) in the 1660s. It is suggested that this mark is the character mark used by Kakiemon I first at Kusunokidani kiln and then in Nangawara.
Ko-sometsuke - Past Highlights
And archived selection from our past highlights of ko-Sometsuke, including Tianqi, Chongzhen, Transitional, and Shonzui examples.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, Tianqi era (1621-27)
A superb and extremely rare Ming Dynasty ko-sometsuke kōro (censer or incense burner) modelled in the form of a recumbent Buddhist lion-dog with its mouth agape to exhaust smoke, decorated in underglaze cobalt blue, splashed with fukizumi (blown ink) on the body and seated atop a rectangular plinth decorated with precious lozenges
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century - Tianqi period (1621-1627)
Measurements
10.5 cm long (4.25 inches); 12 cm high (4.75 inches)
A superbly modelled Chinese porcelain blue and white ko-sometsuke kōro (incense burner) modelled as a recumbent Buddhist lion (shishi or foo-dog) splashed with fukizumi (blown-ink technique) on the body, the raised rectangular plinth form base painted on the long side in reverse technique with a flowerhead and scrolling branches on a blue ground, the ends with a precious double lozenge, all between double lines in underglaze blue.
An identical example in the Collection of The Asian Art Museum (San Francisco, USA). Another identical example formerly in the Collection of Dr. Cornelius Osgood (Professor at Yale University; author of "Blue-and-White Chinese Porcelain" pub.1956 ); and now with Marchant (London, UK).
With a traditional tomobako storage box, inner cloths and ribbon.
Condition
In superb original condition with no restoration under UV light.
Expected glaze flakes, mushikui, natural bubble bursts.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, Tianqi (1621-27)
A superbly painted and extremely rare Ming Dynasty ko-sometsuke kogo (incense container box and cover) in the form of a byobu-bako (Japanese folding screen box) painted in rich tones of underglaze cobalt blue with scenes depicting two men riding bamboo rafts upon Seigaiha water and two wild horses frolicking on the land
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century
Tianqi period (1621-1627)
Measurements
4.0 cm high; 4.9 cm long; 2.9 cm wide
Description
A Chinese porcelain blue and white ko-sometsuke incense container and cover in the form of a byōbu-bako 屏風箱 (Japanese folding screen box) painted in rich tones of underglaze cobalt blue with two bellflowers on the top of the cover, a pair of raft riders on water depicted with the Seigaiha pattern (a traditional Japanese auspcious omens motif of 'Blue sea and waves' in which the waves are lapped over alternately) beneath a cloudy sky on one long side, a pair of frolicking horses on the other long side, and wild grass patterns on the short sides. Also called "Ko-sometsuke Doran Kogo".
A similarly-shaped and decorated folding-screen box incense container was highly ranked in the “Katamono Kogo sumo banzuke” published in 1855; a ranking list produced by tea ceremony Masters, merchants, and connoisseurs from Tokyo, Nagoya, Kyoto, Osaka, and Kanazawa.
With a traditional tomobako storage box, inner cloths and ribbon.
Condition
Elegant, old kintsugi (gold) repair to the lid. Mushikui to the edges.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, Tianqi (1621-27)
An extremely rare Ming Dynasty ko-sometsuke kogo (incense container box and cover) in the form of a roosting chicken, the features and feathers drawn in underglaze cobalt blue in a loosely flowing and artistic manner full of character
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century
Ko-sometsuke (Old Blue-and-White) made for Japan
Measurements
6.0 cm long; 3.3 cm wide; 5.0 cm high
Description
Naturalistically modelled as a characterful roosting hen, loosely painted in underglaze cobalt blue with stylized feathers and features, perched atop an oval base with flat and partially glazed underside.
A nearly identical example illustrated in Masahiko Kawahara Ko-sometsuke (Kyoto Shoin Co Ltd, Japan) 1977, image 111.
Similarly-modelled chicken incense containers were well ranked in the “Katamono Kogo sumo banzuke” published in 1855; a ranking list produced by tea ceremony Masters, merchants, and connoisseurs from Tokyo, Nagoya, Kyoto, Osaka, and Kanazawa. This chart, which rated legendary Kogo (small lidded containers for incense used in tea ceremonies) was the result of a friendly competitive vote amongst connoisseurs. Many of the Kogo on the list were produced in China for export to Japan and are considered today to be amongst the greatest treasures of tea ceremony implements.
With a traditional tomobako storage box, inner cloths and ribbon.
Condition
Excellent original unrestored condition. Mushikui to the edges.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, Tianqi era (1621-27)
A rare late Ming Dynasty ko-sometsuke deep dish vibrantly painted with a fruiting Peach tree in a Moonlit Garden, inscribed with a famous poem by Tang Dynasty poet & philosopher Liu Yuxi (772-842)
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century - Tianqi period (1621-1627)
Measurements
21.0 cm diameter; 4.0 cm high
Description
Inscribed with two lines from the famous Tang Dynasty poem written in 828 by Liu Yuxi at the Xuandu Temple Peach Gardens which painted a thinly veiled picture of his contempt of court politics. Liu Yuxi's last two lines which adorn this late Ming period dish compel the reader to stay true to one's original intentions; to remain unwavering and unyielding in the face of adversity - an ode to tenacity, strong-will and perseverance.
种桃道士归何处
前度刘郎今又来
Liu Yuxi wrote two controversial poems about Peach Blossoms in the Xuande Temple - both of these resulting in his banishment. The first written in 815 and titled "The Peach Blossoms of Xuandu Temple". Fourteen years later, upon returning from exile, Liu Yuxi again visited Xuandu Temple to see the Peach Blossoms. He wrote "Visiting Xuandu Temple Again" (the subject of the present poem dish) which can be translated to:
"Half of the hundred-acre garden is covered with moss,
the peach blossoms are gone and the wildflowers are blooming.
Where did the Taoist priests who planted the peach trees go?
Here returns that once departed Liu."
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, Tianqi era (1621-27)
A very rare and characterful Ming Dynasty ko-sometsuke kogo (incense container box) naturalistically modelled in the form of a comical and slightly curled sho-no-Ebi shrimp boldly decorated in rich tones of underglaze cobalt blue, the sides of the cover and base splashed with fukizumi (blown ink)
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century, Tianqi period (1621-1627)
Measurements
9 cm long (3.5 inches); cm high ( inches)
Description
A delightful Chinese porcelain blue and white ko-sometsuke kogo (incense container) naturalistically modelled in the form of a slightly curled sho-no-Ebishrimp boldly decorated in rich tones of underglaze cobalt blue, the sides of the cover and base splashed with fukizumi (blown-ink technique).
The present example of particularily desirable and very rare form. A similarly-shaped shrimp incense container was ranked in the Katamono-Kogo Banzuke(incense container ranking list published in 1855 - see details below).
The “Katamono Kogo sumo banzuke” published in 1855 was a ranking list produced by tea ceremony Masters, merchants, and connoisseurs from Tokyo, Nagoya, Kyoto, Osaka, and Kanazawa. This chart, which rated legendary Kogo (small lidded containers for incense used in tea ceremonies) was the result of a friendly competitive vote amongst connoisseurs. Many of the Kogo on the list were produced in China for export to Japan and are considered today to be amongst the greatest treasures of tea ceremony implements.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, Tianqi (1621-27)
A superbly painted and extremely rare Ming Dynasty ko-sometsuke kogo (incense container box and cover) in the form of a byobu-bako (Japanese folding screen box) painted in underglaze blue with scenes depicting wild horses frolicking, the cover with a single ox
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644)
Tianqi period (1621-1627)
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Measurements
8.0 cm high; 6.5 cm long; 4.0 cm wide
Description
A large Chinese porcelain blue and white ko-sometsuke incense container and cover in the form of a byōbu-bako 屏風箱 (Japanese folding screen box) very finely painted in rich tones of underglaze cobalt blue with a single ox on the top of the cover, a pair of wild horses beneath a cloudy sky on either long side, and auspicious entwined rings on the short sides. Also called "Ko-sometsuke Doran Kogo".
A similarly-shaped and decorated folding-screen box incense container was highly ranked in the “Katamono Kogo sumo banzuke” published in 1855; a ranking list produced by tea ceremony Masters, merchants, and connoisseurs from Tokyo, Nagoya, Kyoto, Osaka, and Kanazawa.
With a traditional tomobako storage box, inner cloths and ribbon.
Condition
Elegant, old kintsugi (gold) repair to the cover. Ancient, smooth chip to the edge of inner lip on top of the base. Mushikui at edges.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, 17th century
A very rare and pleasing 17th century ko-sometsuke kogo (incense container box) naturalistically modelled in the form of a takenoko bamboo shoot, finely decorated in rich tones of underglaze cobalt blue
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century
Measurements
7.0cm high
Description
A highly unusual Chinese porcelain blue and white ko-sometsuke incense container and cover naturalistically modelled in the form of a bamboo shoot boldly and brilliantly decorated in rich tones of underglaze cobalt blue, the base encircled with dots.
Ko-Sometsuke, meaning "Old Blue and White" is the term used to describe Chinese blue and white porcelain made for the Japanese market during the late Ming Dynasty. Ko-sometsuke wares were produced from the Wanli period (1573-1620) to the Chongzhen period (1628-1644), with the main period of production being the Tianqi period (1621-27). The objects produced were made specifically for the Japanese market, with the shapes and the designs being tailored to the Japanese taste. The shapes created were often expressly made for the Japanese chanoyu and kaiseki (Tea Ceremony and formal meal) and included mukozuke (small food dishes), kōro (incense burners), and kōgō (small incense containers).
With a traditional tomobako storage box, inner cloths and ribbon.
Condition
In very good original condition with one tiny hairline to the top lip of the base. Kiln grit and sand adhesion to the base rim.
Shonzui type, Jingdezhen kiln, Transitional period, 17th century
A rare and very attractive 17th century Shonzui type kōgō (incense container box) modelled in the form of a standing Chinese Hami Melon with stem and leaf, brilliantly decorated in rich cobalt blue tones with moths amidst flowering vines
Shonzui type, Transitional Period (Old Blue-and-White) made for Japan
Jingdezhen, Jiangxi province, China
Measurements
7.0cm high; 5.5cm wide
Description
The superbly modelled Chinese Hami melon container with naturalistic stem and leaf, vividly and superbly painted in underglaze blue with moths of various sizes fluttering through leafy foliage and flamboyant flowers.
Shonzui porcelain is a category of particularly high-quality, blue-and-white Chinese porcelain made in Jingdezhen during the Transitional Period of the 17th century specifically for the Japanese market. It is characterized by meticulous hand-painting, intricate and dense patterns, and a high-quality porcelain body and cobalt used for the underglaze blue decoration. There is much debate about the origins of the name "Shonzui", but it is clear that these objects were ordered specifically for the Japanese market, with the shapes and the designs being tailored to the Japanese taste. The shapes were expressly made for the Japanese chanoyu and kaiseki (Tea Ceremony and formal meal) including mukozuke (small food dishes), kōro (incense burners), and kōgō (incense containers).
With a traditional tomobako storage box.
Condition
The base in perfect condition. The cover with an elegant kintsugi repair. The precious stem and leaf are amazingly intact and undamaged.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, Tianqi (1621-27)
A very rare Ming Dynasty ko-sometsuke Seifu Meigetsu kogo (incense container box) modelled in the form of two pairs of wooden clappers, the sides decorated with pine branches in underglaze cobalt blue, the cover painted with an open fan and Chinese characters reading 'Clear Breeze, Bright Moon'
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century
Ko-sometsuke (Old Blue-and-White) made for Japan
Measurements
6.0 cm long; 4.0 cm wide; 2.5 cm high
Description
Modelled as a pair of sekigi (wooden musical clappers) laying side-by-side and staggered, the top of the cover painted on one side with four Chinese characters reading 'Cool breeze, Bright Moon' and on the other side with an open hand fan. The sides painted with a stylized design variously referred to as either pine trees or drying nets.
This particular example is called 'Seifu Meigetsu' in ancient Japanese records.
Similarly-shaped clappers incense container was ranked second, west row, in the “Katamono Kogo sumo banzuke” published in 1855 - a ranking list produced by tea ceremony Masters, merchants, and connoisseurs from Tokyo, Nagoya, Kyoto, Osaka, and Kanazawa.
With formal tea ceremony storage, including a fine traditional Japanese silk shifuku cover, inscribed wooden storage box with rice-paper covering, outer furoshiki cloth wrap, ribbon, and wooden tablet label inscribed "Hyoshigi-kogo / Seifu Meigetsu" (Clapper Incense Container / Clear Wind, Bright Moon).
Condition
Excellent original unrestored condition. Expected glaze flakes and mushikui to the edges. Firing sparks from the kiln.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, Tianqi - Chongzhen era (1621-44)
A rare late Ming Dynasty ko-sometsuke mukozuke dish naturalistically modelled in the form of a maple leaf, painted in underglaze blue with a waterfront scene depicting a solitary pagoda surrounded by rocks and trees in the foreground and a solitary island in the distance, the reverse finely molded with naturalistic veining, raised atop three squat feet
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century
Tianqi period (1621-1627) - Chongzhen period (1627-1644)
Measurements
15.0cm long (6.9 inches); 4.6cm high (1.6 inches)
A rare late Ming Dynasty ko-sometsuke mukozuke dish naturalistically modelled in the form of a maple leaf, painted in underglaze blue with a waterfront scene depicting a solitary pagoda surrounded by rocks and trees in the foreground and a solitary island in the distance.
The reverse finely molded with naturalistic veining, raised atop three squat columnar feet showcasing highlights of a pleasing brilliant orange body where the glaze pulled back in the original firing. A very pleasing form.
Similar Ko-sometsuke maple leaf form mukozuke in the Itsu-o Fine Arts Museum Collection and the Tokyo National Museum Collection.
With a traditional tomobako storage box, inner cloths and ribbon.
Condition
In original condition. No restoration under UV light. Mushikui, bubble bursts.
Ko-sometsuke, Jingdezhen kiln, Ming Dynasty, 17th century
A 17th century ko-sometsuke square kogo (incense container box) the domed 'cushion' cover boldly painted with a recumbent ox, the sides with bird-in-trellis pattern
Ko-sometsuke (Old Blue-and-White) made for the Japanese market
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century
Measurements
5.5cm long; 3.7cm wide; 5.5cm high
The domed cushion-top hastily painted with a recumbent ox, the four sides decorated with a continuous criss-cross trellis pattern centred by a bird-like design in each diamond opening. The base unglazed, the interior partially glazed.
A highly desirable ko-sometsuke incense container, the plump cushion-top with recumbent ox box was ranked ninth in the west front rank on the “Katamono Kogo sumo banzuke” published in 1855; a ranking list produced by tea ceremony Masters, merchants, and connoisseurs from Tokyo, Nagoya, Kyoto, Osaka, and Kanazawa. This chart, which rated legendary Kogo (small lidded containers for incense used in tea ceremonies) was the result of a friendly competitive vote amongst connoisseurs. Many of the Kogo on the list were produced in China for export to Japan and are considered today to be amongst the greatest treasures of tea ceremony implements.
Two very similar examples illustrated in Masahiko Kawahara Ko-sometsuke (Kyoto Shoin Co Ltd, Japan) 1977, p.4, images 7 & 8, one from the Yamakawa Bunka Zaidan collection.
Condition
In original condition with no restoration under UV light.
Expected minor glaze flakes, mushikui, natural bubble bursts.
Ko-sometsuke, Jingdezhen kiln, 17th century
A rare ko-sometsuke kogo (incense container box) modelled in the form of a Chinese Yishan-guan hat, decorated in bold cobalt blue stripes to the front and top, with floral embellishments painted onto the two upward-curving wings at the back
Jingdezhen, Jiangxi province, China
Ming Dynasty (1368-1644), 17th century
Ko-sometsuke (Old Blue-and-White) made for Japan
Measurements
4.5 cm high; 4.5 cm wide
Description
The distinctively shaped Yishan-guan hat was worn by emperors and high-ranking officials throughout the Ming Dynasty. Its unique structure features a flat top with two upward-curving wings at the back, giving it a majestic appearance. The hat was often adorned with intricate patterns and precious stones and was recognized as a symbol of power and prestige.
A similarly-shaped Yishan-guan crown form incense container was ranked in the Katamono-Kogo Banzuke (incense container ranking list published in 1855) and illustrated in Masahiko Kawahara Ko-sometsuke (Kyoto Shoin Co Ltd, Japan) 1977. The “Katamono Kogo sumo banzuke” published in 1855 was a ranking list produced by tea ceremony Masters, merchants, and connoisseurs from Tokyo, Nagoya, Kyoto, Osaka, and Kanazawa. This chart, which rated legendary Kogo (small lidded containers for incense used in tea ceremonies) was the result of a friendly competitive vote amongst connoisseurs.
With a traditional tomobako storage box, inner cloths and ribbon.
Condition
Excellent original unrestored condition. Very minor mushikui to the edges.
